Millénium 2 : La Fille qui rêvait d'un bidon d'essence et d'une allumette

In Stockholm, the young journalist Dag Svensson (Hans-Christian Thulin) offers the thesis of his fiancée Mia Bergman (Jennie Silfverhjelm) about trafficking and prostitution in Sweden to the editor of the Millennium magazine Mikael Blomkvist (Michael Nyqvist). The couple is temporarily contracted by the magazine to expose the corruption of prominent persons of the Swedish society. Meanwhile, the computer hacker Lisbeth Salander (Noomi Rapace) returns to Stockholm and breaks in the apartment of her guardian, the lawyer Nils Bjurman (Peter Andersson), seeking her reports and uses his revolver to threaten her guardian. When Dag, Mia and Bjurman are found murdered and the weapon with Lisbeth's fingerprints in the crime scene, she becomes the prime-suspect and is accused of the three murders. However, Mikael does not believe that Lisbeth is guilty and investigates the "johns" of the thesis expecting to find the killer. Meanwhile Lisbeth researches the documents expecting to find the culprit and discloses hidden secrets about her father.

"Flickan Som Lekte Med Elden" a.k.a. "The Girl Who Played with Fire" is another engaging thriller based on the Stieg Larsson's novel. I have just seen this film on an imported DVD and it is impressive the number of characters perfectly developed in the concise screenplay and 129 minutes running time. The sharp direction of Daniel Alfredson succeeds, giving the adequate pace to the film. The tough Lisbeth Salander and the wise journalist Mikael Blomkvist are among my favorite characters of action movies. The performances are excellent and Ms. Lena Endre is an impressively beautiful lady. The greatest flaw in the plot is the great number of gun shots in Zala's farm and no response from the neighbors. My vote is eight.

Title (Brazil): "A Menina que Brincava com Fogo" ("The Girl Who Played with Fire")

Note: On 15 Jul 2018 I saw this film again.

There's an important detail about the film version of The Girl Who Played with Fire (in fact, of the whole Millennium trilogy) that needs to be known in order to understand why some (myself included) perceive this as the most flawed installment in the series: originally, all three adaptations were shot for Swedish television, with six 90-minute episodes condensing Stieg Larsson's remarkable prose. Late in the game, it was decided to give The Girl with the Dragon Tattoo a theatrical release, albeit in a shortened version (half an hour was chopped off), and when that became the highest-grossing Swedish film of all time, the other two chapters received the same treatment, with the uncut versions held in storage until spring 2010. In the case of the second film, 60 minutes went missing in the TV-to-cinema transition, and it shows.

Picking up from the first episode, we catch up with Mikael Blomkvist (Michael Nyqvist) enjoying his newfound freedom and restored reputation, while troubled hacker Lisbeth Salander keeps mostly to herself. That is, until Millennium magazine enlists the help of two new collaborators for a special issue about sex trade, and the two are found dead, much like Lisbeth's sadistic guardian, Nils Bjurman. Evidence points to Salander being the killer, and with no way to defend herself she ends up on the run, desperate to prove her innocence, while Mikael tries to help her as much as he can from the office, eventually realizing he's in much bigger trouble than last time.

Based on the summary alone, The Girl Who played with Fire should be as great a thriller as its predecessor. That it isn't is essentially up to a couple of factors: firstly, new director Daniel Alfredson (brother of Let the Right One In's Tomas), who replaced Niels Arden Oplev for the last two bits of the trilogy, occasionally fails to capture the same raw atmosphere as in The Girl with the Dragon Tattoo; secondly, the aforementioned removal of one hour's worth of footage makes the whole thing feel a bit rushed, particularly in regards to new characters who are hastily introduced and then dispatched just as quickly. Additionally, the extended cameo of boxer Paolo Roberto, playing himself, will make little sense to non-Swedish viewers, though it is faithful to the book and allows for one kick-ass fight scene. As for the final twist, what came off as a shocking revelation on the written page loses a lot of its impact on screen, due in no small measure to Oplev virtually giving it away in the first film.

That the film manages to make any kind of impression is all thanks to one person: Noomi Rapace. Sure, Nyqvist's work is fun to watch, and the supporting players do their job well, but Rapace towers above all of them with her harried, mesmerizing portrayal of a rebellious yet strangely vulnerable woman who just won't take any crap from anyone. There are rumors of a possible Oscar campaign for her work in the trilogy (though if they had to single out a specific installment, the logical choice would be The Girl with the Dragon Tattoo), and she really deserves it, not least for her ability to show off her dramatic skills even in a moment as irrelevant as a gratuitous girl-on-girl scene (again, faithful to the book) that has clearly been added to compensate for occasional shaky plot points.

In short, The Girl Who Played with Fire is a great acting lesson and a fun thriller, but little more. A shame, given the high standards set by Lisbeth's first cinematic adventure.

6,5/10

This is the Swedish-language film adaptation of the second of the three "Millennium" crime novels by the Swedish journalist Stieg Larsson and it's really essential that one sees "The Girl With The Dragon Tattoo" first because vital themes are continued. Most middle segments of trilogies lack the bright originality of the first and the satisfying denouement of the last, but this one will certainly hold your attention until the girl kicks the hornet's nest.

In this central segment, Lisbeth Salander (the mesmerising Noomi Rapace) is much more central to the narrative and indeed she and investigative journalist Mikael Blomkvist (Michael Nyqvist) are only physically together for moments, although often in electronic communication and always in emotional connection.

The criminality being investigated by the "Millennium" team is more woman-hating in the form of sex trafficking and again the plot contains some surprises but this time the villains are reminiscent of Bond baddies like Blofeld and Jaws. The violence is not quite as stomach-churning as in the first episode, yet there's still plenty of bone-crunching, blood-splattering action. Lisbeth here is the most death-defying female avenger since The Bride in "Kill Bill Part 2".

With a new director (Daniel Alfredson) taking charge of the second film in the Scandinavian version Millennium series, The Girl Whi Played with Fire is not at all a disappointment but is less striking and less memorable than the first film, who introduced the characters of the trilogy. The judgment may be more severe than the film really deserves because the it is certainly a well written and well built crime story, with solid characters brought to screen by a team of actors who each makes his job wonderfully, from the leads to the smaller parts. It is probably the surprise effect that is unavoidably gone and maybe also the more standard cinematography that replaces the frozen landscape that dominated The Girl with The Dragon Tattoo. Yes, the Swedish summer can be very pleasant but the winter films better.

There are more biographical details that we learned about The Girl in the title of the movies, and the action of the film turns around her family and her traumatic childhood we had a glimpse about already. Noomi Rapace is as good as in the first film, but she still keeps enough secrets to have us interested for her fate in the final film of the series. Michael Nyquist's character is slightly relegated to the role of the classical seeker of truth, but his acting is still so good that I continue to be concerned about Daniel Craig taking over his role in the Hollywood version in-making (although I like the actor and I believe he deserves and can make much better than a Bond).

Maybe the secret of the magnetic force of these films is that faced with the most sordid vice or violence or put under the darkest physical or psychological threats the heroes created by Stieg Larsson remain without doubt human. Too bad that these series un-naturally end in a trilogy. The quality of the dialog and the building of tension, the sophistication of the crime story and the human dimension of the characters ask for more. On the other side, the sonata is one of the most perfect pieces in music and it always is composed of three parts. There may be logic in fate sometimes.

The dragon's taken to the sky, but this time it just fails to fly, not a patch on what had gone before and doesn't leave you wanting more, one or two distinct plot twists, though the vessel clearly starts to list and the flames are flickering to low and just about to lose their glow.